Crowley was invited to contribute an essay to the catalogue to this landmark exhibition of Yugoslav neo-avant-garde art, the first of its kind in Britain. In his essay Crowley develops an argument about the ways in which sexuality and its representation were claimed by some Yugoslav intellectuals as markers of Yugoslav distinction. At the same time, the state response was often censorious, particularly when dealing with representations of male sexuality and, in particular, the phallus. Focusing on the subcultures operating in Ljubljana in the 1980s, he develops an argument which connects the neo-Lacanian philosophy being generated there by writers like Zizek and Dolar to the music and performances of musicians and artists associated with FV 112/15, a radical theatre group in the city. It demonstrates why and how artists were drawn to ‘transgressive’ sexual practices and images in the last decade of Yugoslavia.